TAILIEUCHUNG - GERMAN CINEMA: SEVEN FILMS FOR SEVEN DECADES

Bonfand’s style takes full advantage of the freedom allowed by the essay form. In the first place, Bonfand’s use of bibliographical materials follows a strict parti-pris. While he gives great importance to the filmmakers, or painters, own words, often quoting interviews or autobiographies and excavates and values non-produced film scenarios (in the two chapters on Antonioni), he does not waste time nor room by quoting existing books on the subjects he approaches. This orientation is sometimes embarrassing and weakens the intellectual honesty of the book as a whole. . | GERMAN CINEMA SEVEN FILMS FOR SEVEN DECADES by Thomas Elsaesser INTRODUCTION Germany looks back on almost as long and important a film history as Italy France or Great Britain. And yet during the past seven decades its cinema has seemed ambivalent even in its achievements subservient to political pressures eclipsed by Hollywood and financially precarious more often than that of any of its European neighbours. The discontinuities and contradictions of German history this century have left their mark on the cinema but even more so on the way it is perceived. The early Twenties tend to be seen as a unique and isolated pinnacle of film art but are judged severely for the political message the films conveyed. When the cinema became an instrument of state propaganda as it did during the Nazi years films were produced which expressed the regime s ideals while making no mention of its reality. The results are considered worthless artistically but their success as technically the most perfect most highly polished entertainment ever to appear on German screens raises issues about form and content that have yet to be resolved. This economic and political situation in turn created a number of paradoxes around the German cinema s of the 1950s and 1960s the 1970s and 1980s that require a revisionist approach to film history if they are to remain more than paradoxes. The New German Cinema of the 1970s and early 1980s for instance has been celebrated as an extraordinary flourishing of talent but on closer inspection the renaissance was short-lived the films technically primitive the market-strategies naive while the efflorescence of creativity had its roots in governmental subsidy. At first praised the world over the films failed to build audience loyalty or generic identity and when government policy changed the miracle became a mirage. Taken as a whole the German cinema is both more and less than the sum of its films. When one thinks of individual titles quite a few especially .

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